#musicology era

[the-music-keeper]

Last thing for the night -- Objective #11 is done. The reading was a neat article describing the historiography of polychoral writing in Italy during the first half of the seventeenth century.

[oliviabutsmart]

Physics Friday #18: Sounds of the CMB - Baryon Acoustic Oscillations

Introduction: What Are BAOs?

It's time for colours!

Let's break down the term Baryon Acoustic Oscillations (BAOs) ...

A Hadron is a particle made of several quarks, a Baryon is a Hadron that contains an odd number of quarks.

Baryonic matter makes up a majority of the stable, visible matter in the universe. Both protons and neutrons are types of Baryons, so most Baryonic matter is, shockingly, atoms.

Acoustic generally has two definitions, one musicological and one scientific. Scientifically, any 'acoustic' thing involves sound. Specifically here, we're using it to discuss the production and propagation of sound.

Oscillations is a term very related to sound, if you read my posts on the mechanics of sound, oscillations, waves, periodic motion, are all the same phenomena.

Here, an acoustic oscillation is just a looping/repeated physical motion in a medium, like plasma.

Thus, putting everything together, a BAO is the physical motion in a plasma of hydrogen/helium, caused by the propagation of sound waves.

How do they form?

After the era of nucleosynthesis, but before the era of recombination, the universe was full of an opaque plasma of hydrogen/helium.

Sound waves require something that can create both a compression and expansion of this plasma, causing a pressure wave. A force that can pull things together and push things apart.

Thankfully, gravity is a great mechanism to pull things together. All that is required is a few thousand years, and some already pre-existing variations in density to get going.

So this plasma, in more dense regions, begin to pull more matter into those regions, creating a self-reinforcing cycle.

But how do we create the effect of expansion?

This plasma, is, well, hot. Very hot. And because it's everywhere, there's a lot of radiation being constantly emitted and re-absorbed.

When you begin to concentrate a lot of plasma into one location (thanks to gravity), you also concentrate the release of radiation.

Moreover, the speed the plasma accrues when it starts falling into the dense regions will also give it more energy, causing even more radiation to be released.

The effect is that in these denser clouds of gas, more radiation is produced. This produces a radiation pressure, which attempts to force atoms out of the dense regions.

Because of the every-where-ness of this plasma, the radiation pressure is strong enough to completely counteract gravity in some cases.

This generates sound waves, created by the constant tug-of-war between radiation pressure and gravity. These sound waves propagate throughout the early universe.

In Comes Dark Matter

Dark matter is predicted to represent a majority of the matter in our universe, because it is dark, it does not experience radiation pressure.

But because it still has mass, it does experience gravity. This means that the dark matter will stay within the denser regions without rebounding at all.

The dark matter within these regions are what allow regular matter to constantly fall in and out. Without it, the radiation pressure would blow apart the region and it'd become devoid of matter.

Freezing Things in Place

Suddenly, the universe cools to a point where, near simultaneously, matter cools to the point that it can exist as a gas rather than plasma.

Unlike plasma, gas does not absorb all forms of electromagnetic radiation. This is because electrons are now bound to their respective atoms.

This means that radiation pressure no longer comes into effect, and any radiation emitted at the moment of this cooling is free to travel across the universe.

The newly freed radiation is what we see in the CMB - but there's something important about it. It records a single snapshot of the current state of the sound waves propagating in the universe.

Imagine you have a high-speed camera and take a photo of a guitar string being plucked. At that very instant you can see the wave frozen in place, and can use that to determine it's properties.

Image Credit: Reddit

The remaining oscillations in the matter freeze too, allowing for the formation of our modern galaxy clusters, galaxies, and even stars.

How we Look at the Sound

Using the image of the CMB, we can measure the ripples of the sound waves using a Fourier analysis of the temperature gradients.

The temperature is used because it correlates to regions of high or low density, of course, the hotter a location is in space, the more matter managed to get in there, thus releasing more stuff.

A Fourier analysis is a very common technique in sound measurements. It takes any arbitrary mathematical function, and converts it into a frequency spectrum.

A Fourier analysis. On the top, the original signal, on the bottom, the signal's frequency spectrum Image Credit: The Mathematics of Waves and Materials Blog

We can conduct a Fourier analysis in two dimensions as well, we just perform two applications of the Fourier transform, but in two directions.

A 2D Fourier analysis. On the left, the original image, on the right, the image's 2D frequency spectrum Image Credit: Python Coding Block

We can then take this 2D image and plot it on a graph of the distance from the centre.

Applying the analysis and the plotting function to an image of the CMB we get this graph here:

Note that 'Multipole moment' is, for the sake of simplicity, a frequency spectrum Image Credit: Report of the Dark Energy Task Force, 2006

The above image is referred to as the power spectrum of the BAOs.

Adding constraints to Dark Matter/Energy

Dark Matter and Matter Density

The BAOs at the moment of them freezing become an incredibly useful measurement for the propagation of Dark Matter and Dark Energy.

Of course, dark matter is built into the equation, as they form a necessary component of the gravity force pulling things in. We can use the relative strength and period of the oscillations to estimate the amount of dark matter and it's ratio to Baryonic Matter.

Curvature

We can also use our graph for a second purpose: measuring the curvature of our universe.

You see, given the fact that our galaxies and galaxy clusters eventually end up forming from those regions of dense gas, and given that we know how 'far away' the CMB is (thanks to redshift).

We should know the approximate size of these dense gas regions in the CMB, given a certain curvature.

This will appear on our power spectrum as the shift in our graph, the location of our peaks along the x-axis.

In a universe that is hyperbolic, we should expect the density blobs to be small, and in a spherical universe, blobs that are larger. What we end up seeing is approximately a flat curvature.

Dark Energy

Now, thirdly, we can estimate the density of dark energy in our universe.

We can get this easily by measuring both matter density and curvature, as the two are related to the dark matter density.

But, we can also estimate it directly from analysing the power spectrum directly.

Dark energy affects the expansion of spacetime via the Friedmann equation, controlling for matter density, we can use the equation to quantify the Hubble parameter.

The size of the Hubble parameter, relative to our current Hubble constant, can be measured from the fact that the BAOs provide a standard measure of distance.

By analysing the power spectrum, we can effectively work backwards to derive a measurement for the Hubble parameter, and thus the presence of dark energy in the early universe.

Conclusion

Surprisingly a shorter-ish post this time, good on me.

Anyways I'll probably take a break for next week, as it's Christmas. Outside of that, I don't really know what else to say.

Follow if you want more, gib feedback on my post, and comment/repost your thoughts!

See ya later!

[mormorando]

Heyy, do you have any favorite books? And what would you say inspires you most?

oh god, i'm so sorry if it's been a while, i don't check my inbox often!! so nice to hear from you.

first, the books. difficult question! i don't feel like i've read enough at all to talk about my favourite books. still, i will try, i can tell you a few that have influenced me the most as of late - those would be hotel du lac by anita brookner (as well as a misalliance). her writing is at the same time lonely, introspective and not egocentric, which is such a difficult balance to maintain, and she does it wonderfully. also, house of incest and the diaries of anaïs nin by, well, anaïs nin. frankly, i have read very few authors who i felt as close in spirit to as her. eroticism: death and sensuality by georges bataille is something that i've read a while ago and has strongly... well, i'd like to say influenced, but more than anything i think it enabled me. of the ones that have been something of a favourite earlier but i probably wouldn't feel the same way if i read them today, i can also give you woolf's mrs. dalloway, fitzgerald's the great gatsby, and to no one's surprise, plath's the bell jar. i actually had to stop towards the end, try to get better myself, and only then, after recollecting my courage, could i finish reading the bell jar. funny, no? as for poetry, crush by richard siken is an all time favourite so far. anyway, i hope this answer is satisfactory! what are your favourites, though?

as to what inspires me, AH! sweet question, as if i'm creative enough to even talk about inspirations. but dear, there's a lot... and you are a definite part of one, because the experience i've curated for myself around here means a lot to me and i tend to learn so much from the bloggers i follow. mostly, though, i take inspiration from music i suppose? spanning from polish sung poetry of the 70s, through benjamin britten to eartheater. studying singing and soon also musicology has a major influence on me, but it's also something a little different, i mean - i love finding a certain pattern - a same kind of sensitivity, so to say (for example, shostakovich has the same type of sensitivity as ethel cain to me) and digging into those illusory categories rather than going by genres or eras, and then finding out what qualities tie those certain kinds of music together for me, and letting the chosen musical sensitivity of the season influence all my irresponsible decisions or any artistic endeavours i might take on. and this has grown to go for all art, not just music. philosophy too. things have to correspond with one another as one collage, but by my own rules on what is the same and what is different, and then all i might think or write or do or say is only a by-product of my understanding the world through made up commandments like that. and then i get obsessed with those little qualities i think i've found and want to write something to make there be more of this quality in the world. this answer is SO impressionist and vague and drawn out, i'm sorry, but you know, it's not easy to answer something like 'what inspires you' and neither lie nor talk too much. so i guess i've chosen talking too much.

thank you so so much for the questions, it really means the world that you're actually interested enough to ask this 🫀 and how about you, what inspires you? please do tell! you've always been such an interesting mutual to me.

[saugerencias]

Una Semana En Discos #2

Otro capítulo de UNA SEMANA EN DISCOS. Trabajo, limpio la casa, ordeno mis colecciones, hago varias cosas y siempre escucho música. Pongo aquí los mas representativos que estuve escuchando.

1- Soundagrden / Badmotorfinger / 1991 2- Fun People / The Art(e) Of Romance / 1999 3- Aerosmith / Get A Grip / 1993 4- LCD Soundsystem / This Is Happening / 2010 5- Silverchair / Frogstomp / 1995 6- Rod Stewart / Tonight I'm Yours / 1981 7- Jenny Lewis / The Voyager / 2014

¿Cuál es el que más te gusta de esos? ¿Por qué?

Mi selección personal es el de Aerosmith porque fue el primer CD que me compré con plata que me habían regalado cuando era muy chico. En ese momento tener un CD era un lujo y creo que es por eso que le tengo tanto aprecio a ese formato, aún.

El de LCD Soundsystem también lo pondría en el podio, aprendí a apreciarlo gracias a @_srz y su programa #musicology

[supercantaloupe]

congratulations on graduating!!! what was your favorite part of your studies (class, something you learned, etc)?

ty! honestly just getting to stick my hands in deep in music and feel around in there was what i needed. i mean yeah sounds obvious from the guy who graduated with a music degree but i started college not having a clue what i actually wanted to do (i picked music at the start cause i just didn't know what else to do, and thought switching majors would be a possibility). plus before college i'd never actually had any formal theory or history training; everything i knew at that point i'd just picked up through practice. so i really liked being able to Actually Learn that stuff...unsurprising, since now i'm committed to a musicology grad program for the fall lol. music history was definitely my favorite, especially music history ii (broadly the 17th through 19th centuries), music in the romantic era, and public art culture in 18th century london. the prof i had for these classes was really really great and i'm so lucky to get to work with him.

also i would be lying if i said orchestra wasn't a highlight. yes it's a pain in the ass a lot of time but i got to play a lot of cool music with a lot of cool people and at some pretty cool places. like 80% of my social life comes from orchestra lol no one else is doing it like her for me

[filorunsultra]

Unrecorded: my first FKT

Foto di Elisa Bessega, l'articolo era stato pubblicato per la prima volta con un titolo diverso in The Pill n. 55.

Il Cammino Rigoni Stern è un sentiero escursionistico che collega l’Accademia Olimpica di Vicenza alla casa natale di Mario Rigoni Stern ad Asiago. Ufficialmente misura 80 chilometri con 1400 metri di dislivello, ed è stato ideato dall’associazione culturale Cammini Veneti per il centenario della nascita dello scrittore. Il CRS deve ancora essere inaugurato, ma sul percorso sono già presenti dei segnavia provvisori sulla base dei quali, il 30 aprile 2022, io e Andrea abbiamo percorso per primi l’intera pista. L'abbiamo percorsa nella direzione Asiago-Vicenza, in una sola tappa, in 7h48' e in modalità supported.

(Preparativi in Piazza Carli, Asiago)

Per chi non è addentro al gergo della corsa, un FKT è un percorso su cui si registra il tempo più veloce, è un record se volete. Gli FKT sono nati per creare un storico dei tentativi e dei migliori tempi di percorrenza su percorsi su cui non era possibile organizzare una gara per motivi legali. Per sistematizzare la cosa venne aperto un sito web per raccoglierli tutti, e oggi, potenzialmente chiunque può disegnare un percorso, registrare il proprio tempo, e caricarlo sul sito. Questa semplicità unita alla sospensione delle gare durante la pandemia ha portato all'esplosione del fenomeno anche in Europa, facendo progressivamente perdere valore al movimento. Nell’ultima settimana (oggi è il 2 maggio 2022) sul sito fastestknowntime.com sono stati registrati trentadue FKT. Di questi, cinque nel Regno Unito, due in Germania, uno in Italia, e i restanti negli Stati Uniti. Fra questi trentadue convivono pacificamente il recente record di Jeff Browning sul Grand Canyon Crossing, uno dei più importanti percorsi nella storia dell’ultrarunning, e un FKT di 10 chilometri su un percorso arbitrario in un parco pubblico di Mannheim, una cittadina del land del Baden-Württemberg ricordata dai musicologi e da nessun altro per aver dato il nome alla Mannheimer Schule. Il valore di questi due percorsi è molto diverso: il primo è un percorso storico della tradizione dell'ultrarunning, il secondo è un percorso che probabilmente nessuno ripeterà mai. Tradizionalmente il valore di un FKT è dato dalla sua storia, dalla logicità del percorso e dalla semplicità nel ripeterlo con il minor supporto esterno possibile. Inoltre, nascendo come record escursionistici sui grandi cammini, un FKT dovrebbe avere un interesse escursionistico, ancor prima che sportivo. Tutti questi elementi concorrono a rendere un FKT da un lato interessante per chi cerca il record del percorso, dall'altro per chi, pur non avendo le capacità di tentare il record, può tentare il percorso per motivi storici e paesaggistici. Ciononostante, l'80% degli FKT oggi esistenti non ha probabilmente valore per nessun altro al di fuori di chi li ha registrati. Che il sito fastestknowntime.com non abbia un criterio di selezione ha contribuito all’esplosione del fenomeno FKT, ma ne ha anche sminuito il valore. In Italia oggi il sito registra novantotto FKT. Di questi, alcuni sono belli e logici (come Ortogonale 1 e Alta Via del Granito), altri meno. In ogni caso manca la voglia generale di ripeterli, mentre è un po’ troppo presente quella di crearne di nuovi. In questo vedo il principale limite del movimento e del sito fastestknowntime.com.

Registrare il percorso sul sito non mi sembra un valore aggiunto, né un criterio di legittimazione. Per questa ragione abbiamo deciso di non registrare il nostro tentativo su fastestknowntime.com, ma soltanto di informare l’associazione che si occupa del sentiero del nostro tentativo prima e del risultato poi, e di rendere pubblico l'FKT con un articolo ragionato. Limitando l'accesso alle informazioni sul percorso se non attraverso l'articolo e il sito Cammini Veneti, i futuri ripetitori saranno più portati a informarsi sulla sua storia e sulla sua identità, dandogli più valore.

(Correndo i primi chilometri in compagnia del Geno, sulla Strada del Trenino poco dopo Roana)

In realtà il Cammino Rigoni Stern non è ancora un percorso storico, anzi, deve ancora nascere: l’apertura ufficiale era prevista per il 2021, centenario della nascita di Mario Rigoni Stern, ma per questioni amministrative è slittata più volte. Non esiste una traccia ufficiale e le indicazioni sul percorso sono provvisorie. L’associazione che se ne occupa, Cammini Veneti, è nota soprattutto per il Cammino Fogazzaro Roi, un percorso parallelo al Rigoni Stern, che già da anni porta escursionisti tra pianura e Prealpi vicentine. Noi abbiamo scelto di percorrere il CRS in discesa, da Asiago a Vicenza, sia per motivi logistici che affettivi (rappresentava un ritorno a casa); ma anche per motivi estetici: percorrere un sentiero al 75% in pianura significa entrare in relazione con un territorio poco considerato da chi fa outdoor e soprattutto da chi fa trail running. Abbiamo un’idea di trail talmente legata alla montagna e al dislivello che quasi non ci accorgiamo della potenzialità di questi spazi.

Ho scoperto questo percorso finendoci a correre dentro per caso, mentre cercavo dei sentieri vicino a casa, per evitare l'asfalto. Ho iniziato a studiarlo e a unirne i pezzi, un po’ alla volta, come si fa con una via di arrampicata. Avevo voglia di entrarci, anche emotivamente, con «l’idea che i chilometri che macini con le tue gambe in qualche modo ti appartengano. Li conosci da vicino un metro alla volta, quello che era un numero diventa un paesaggio, ambiente e territorio, senti che ti appartiene nel senso che te ne senti parte», come ha scritto Elisa il giorno dopo il nostro tentativo. Coinvolgere Andrea è stata la chiave per condividere con qualcuno il momento conclusivo di un processo in larga parte solitario. Andrea è rimasto totalmente coinvolto e assorbito dall’idea, dall’ambiente e dalla corsa. Durante le prime ore di corsa, mentre il nostro amico Davide ci accompagnava alle porte dell’Altopiano, abbiamo parlato parecchio tra noi, ma quando io e Andrea siamo rimasti soli, iniziando la discesa verso la Val d'Astico, siamo caduti nel silenzio. Eravamo noi due coi nostri pensieri, a correre uno davanti all’altro tra i boschi umidi che costeggiano il fiume.

(Un pezzo di sentiero che taglia il Costo Vecchio che dall'Altopiano scende a Cogollo del Cengio)

Da Piazza Carli, deserta, si prende la ciclabile del trenino che porta prima a Canove di Roana e poi a Tresche Conca. La pista attraversa prima i pascoli di Asiago e poi un fitto bosco di pecci. Al limite occidentale dell'Altopiano si percorre il Costo vecchio fino in valle, a Cogollo del Cengio, su una serpentina di tornanti prima sterrati e poi asfaltati. Tra Calvene e Fara si attraversano due piccole valli circondate da colline e ville palladiane: la pianura inizia poco dopo. Al quarantesimo chilometro, a Breganze, si imbocca definitivamente l’argine dell’Astico, che dopo aver cambiato nome in Tesina conduce fino alle porte di Vicenza. Passiamo prima a un paio di chilometri da casa mia, e poi davanti a quella di mia nonna (che, positiva al covid, ci aspettava alla finestra). Via Aldo Moro, viale della Pace, Borgo Berga, e Olimpico, l’unico teatro di Vicenza in cui non ho mai suonato, e in cui ormai non suonerò più. Correre per primi un cammino che attraversa i luoghi in cui sei cresciuto, se accompagnati da una certa predisposizione d’animo, può essere toccante. Il paesaggio, i colori morbidi, il cielo che sembra limpido ma non lo è, perché è sporco di una leggera umidità che solo chi è nato in pianura sa conoscere. Perché la limpidezza che c’è appena dopo un temporale è tutta un’altra cosa.

(Trying to cool down in Lupia)

L’argine è un cannocchiale sulla pianura che attraversa paesi, campi, periferie e zone industriali senza essere visto, unendosi e dividendosi con altri mille fiumiciattoli, fossi e torrenti, creando un’enorme ragnatela che copre la pianura da Torino a Venezia. È allo stesso tempo un sentiero, un universo biologico a sé stante e il prodotto di politiche di regolazione idrica antichissime; ma è soprattutto un punto di vista rialzato in un paesaggio in cui tutto è orizzontale.

(Somewhere on the riverbank between Quinto Vicentino & Marola)

Avevamo voglia di fare questa cosa anche per essere liberi di correre con uno stile che ci piac: nudi. I primi cacciatori di FKT – David Horton, Brian Robinson, Ted ‘Cave Dog’ Keizer – nei loro percorsi cercavano la solitudine. Negli anni quello stile si è perso, andando sempre di più verso una modalità di corsa assistita, supported. Leggere questa tendenza solo come una questione di prestazione sarebbe parziale, credo invece che, per gente come noi, avere assistenza sia più che altro un modo per condividere l’esperienza con persone a cui vogliamo bene: fare le cose da soli in fondo non è così interessante, al di là della scarica iniziale di trovarsi da soli di fronte a ottanta, cento o mille chilometri. Non c’è niente da misurare e niente contro cui misurarsi. E se è la solitudine che cerchi, presto o tardi la trovi comunque, pur correndo uno accanto all’altro, con una macchina ogni venti chilometri. Così abbiamo preferito condividere.

Adesso andate su quella pista e tirateci giù il tempo.

(The coolest finishline banner ever)

[deadlyglacier]

FanFiction Update

So, I haven't updated my blog here in a while, so I thought I'd catch y'all up on the things I've worked on since Smutmas last year (lol)

SECTION 1: FullMetal Alchemist Fics

Musicology

Rating: G

Pairing: None

Summary: Al is having trouble coming to terms with his new existence as a suit of armor. Winry helps.

G-Rated. Bittersweet. Post-Human Transmutation.

Cardiology

Rating: E

Pairing: Unrequited Ed/Al + RoyEd

Summary: Alphonse has known what's going on with Ed for a while, but tonight he comes face to face with it.

Hedonics

Rating: E

Pairing: Ed/Al

Summary: Something has been brewing between the Elric Brothers since the Promised Day, and one afternoon, it all bubbles over... NSFW. Elricest.

Ombrology

Rating: E

Pairing: Roy/Ed (sort of)

Summary: Ed runs through the streets to escape some drunk idiots, and seeks solace from the one place in Central he can find peace.

NSFW. Gargoyle!Roy. Post-Brotherhood. Post-Promised Day.

Written as a congratulatory gift for my dear friend @willowsrain <3

Oh, but she loves, like sleep to the freezing

Rating: M

Pairing: Unrequited RoyEd

Summary: Years after the Promised Day, Roy is sent a letter from Alphonse fearfully urging him to see Ed in Resembool. What Roy finds far worse than he could have imagined.

Inspired by Hozier's "Cherry Wine."

TW/CW: Implications of domestic abuse.

Trichology

Rating: T

Pairing: RoyEd

Summary: Winry encourages Ed to go to her salon and get a haircut.

RoyEd. Modern AU. Meet Cute. SFW.

Lexicology

Rating: E

Pairing: RoyEd

Summary: Ed and Roy are grocery shopping and preparing for an amazing weekend alone together when Ed decides to shake things up a bit.

RoyEd. 03/CoS-FixIt-verse. Adult Ed. BDSM + Fetish. One-Shot. TikTok-inspired.

Written for the lovely @willowsrain, for their birthday!

SECTION 2: Inuyasha Fics

Dove

Rating: M

Pairing: Implied InuKag, InuKik

Summary: Kagome unloads on Inuyasha and Kikyou after they ask the impossible of her.

Not a happy story. You've been warned.

One-Shot.

Parrot

Rating: G

Pairing: SessKagInu

Summary: Kagome is painting her nails one weekend afternoon, and her son Keiji is curious.

Kag/Sess/Inu. Domestic Fluff. One-Shot.

Honeycreeper

Rating: E

Pairing: SessKag

Summary: Kagome gets a new kind of weapon, and it has... an interesting effect on her. The only one that appreciates it is Sesshomaru.

NSFW. Sub!Sess/Dom!Kag. BDSM.

Prequel to my SessKag Week 2021 fic, Grackle!

Starling

Rating: M

Pairing: SessKag

Summary: A long time ago, in a galaxy far, far away…

During an era of relative peace, an object of tremendous power has surfaced, a crystal known as the Shikon Jewel.

The Jewel’s presence has divided the Jedi Order, and forced them to send one of their own to hide away with the object, preventing a civil war.

The defeated Sith lay in wait, scattered across the galaxy in covens, but news of the Jewel has spread far and wide, and many are hunting it with the hope to restore power to the Sith Order.

But, with no leader to rally them, the Dark Jedi remain powerless in this new age… for now.

Thus, the fate of the galaxy rests in the hands of the one given the task of protecting the Shikon Jewel, a young Jedi woman named…

Kagome.

SECTION 3: A Mass Effect Ficlet

Constellations

Rating: E

Pairing(s): Varied, but mainly FemShep/Garrus

Summary: Round 2 of @forgettable-fox’s Drabble Challenge – but this time, all the drabbles are going to take place in the Mass Effect universe!

Possible TW: dieting?

SECTION 4: Yuuri!!! On Ice Fics

Twizzle

Rating: T

Pairing: Victor/Yuuri

Summary: Yuuri and Victor run into an old friend of the Russian's at the airport.

Post-Grand Prix Final. Victor/Yuuri. Fluff. One-Shot.

Possible TW: dieting?

Glissade

Rating: E

Pairing: Victor/Yuuri

Summary: After skating his incredible short program in China, Yuuri and Victor sneak off to relieve some tension.

(I have a bit of an obsession with the Eros costume, okay? It's fine. It's *fine.*)

PWP. One-Shot. Post-China Short Program. Virgin Power Bottom Yuuri. Service Top Victor.

And there you have it! Everything's up today for now! I'll try to get better about updating my blog with what I'm working on so it doesn't get backed up like that again 🙃

Enjoy!

<3DG

[diceriadelluntore]

Storia Di Musica #230 - John Fahey, America, 1971

Le storie di Luglio saranno dedicate a meravigliosi chitarristi, di svariati generi, per un viaggio differente nel suono dello strumento principe del rock. Il primo di cui racconterò l’ho conosciuto nel modo più stravagante. Tutto nasce quando un carissimo amico cinefilo mi mostrò tempo fa una sequenza di Arancia Meccanica di Stanley Kubrick dove compare una copertina di un disco. Mi disse dato che sei l’esperto, dovresti sapere chi sia. E io da esperto ovviamente non lo sapevo. Però la curiosità si impadronì di quel disco e di quell’artista, e ho fatto ricerche. Come spesso accade in situazioni del genere, si va a scoprire che quel disco e quell’autore sono per bizzarria, genio e altre cose simpatiche, degni di un romanzo. Il disco in questione era The Transfiguration Of Blind Joe Death (1965) e l’artista è John Fahey. Fahey è stato uno dei più grandi, se non il più grande, maestro della chitarra acustica, il re del fingerpicking. È stato pioniere nella autoproduzione dei dischi, fondando da solo la sua casa discografica, la Takoma (dal nome della sua città natale, Takoma Park, un sobborgo di Washington DC), agli inizi degli anni’60. È considerato unanimemente uno dei più fini ed acuti musicologi, enciclopedia vivente della musica tradizionale americana, del bluegrass sua passione e ossessione (tanto che la sua autobiografia si intitola Come il bluegrass mi ha rovinato la vita), ed è stato decisivo nella riscoperta di alcuni dei giganti del blues, come Bukka White o Charlie Patton, su cui scrisse la sua tesi di laurea che fu stampata come titolo a sé nel 1970, dal titolo Charlie Patton, e sullo stesso autore nel 2001 pubblicherà un set antologico con tutte le sue canzone, alcune addirittura inedite da 78 giri degli anni 20, Screamin' And Hollerin' The Blues: The Worlds Of Charley Patton, che vinse ben 3 Grammy Awards. Fahey per tutta la vita ha ricercato la magia del suono solo con la chitarra acustica, con qualche sporadico disco suonato in quintetto, a volte aiutato da qualche strumento a fiato e solo verso la fine della sua vita, con una svolta clamorosa e iconoclasta (ne parleremo brevemente dopo) passò agli strumenti elettrici, per pure sperimentazioni avanguardistiche. Per definire la sua musica credo che nulla possa essere meglio che il titolo di una sua canzone: Guitar Excursions Into The Unknown, da uno dei suoi capolavori The Great San Bernardino Birthday Party & Other Excursions (1966), tanto è che per lui fu coniato il termine di American Primitive Guitar. Autore di melodie e musiche incredibilmente poetiche, eteree, magiche, che spaziavano dal ragtime ai raga indiani, alla musica modale a incredibili viaggi in luoghi lontani, spesso seguendo le ferrovie (sua grande passione) oppure da dedicare ai suoi amori femminili, varie canzoni dedicate a donne che hanno segnato la sua vita, disseminate per tutta la sua discografia ed addirittura un intero disco, stupendo, dedicato ad una The Yellow Princess (1968), sciorinati in titoli barocchi che da soli già mettono curiosità: tra i più belli Dance Of The Inhabitants Of The Palace Of King Phillip XIV da Death Chants, Breakdowns & Military Waltzes (1963) e Commemorative Transfiguration And Communion At Magruder Park da The Yellow Princess (1968). Io ho scoperto la musica di Fahey con questo disco del 1971, in uno dei momenti più alti della sua genialità. America era pensato per essere un doppio album, ma Fahey alla fine pensando fosse un suicidio commerciale per la sua piccolissima etichetta, cambiò idea, e lasciò solo 4 brani. Due tra questi, Mark 1:15 e The Voice Of The Turtle, sono due incredibili ed imperdibili strumentali di oltre 15 minuti in bilico tra magia, misticismo, religiosità. Nell’edizione del 1998 in cd che ho io viene ripresa la scaletta originale: ci sono due stupende versioni del classico Jesus Is a Dying Bedmaker (conosciuta anche come In My Time Of Dying ripresa poi con infinito successo dai Led Zeppelin), Amazing Grace, il terzo movimento della ottava sinfonia di Dvorák, una deliziosa The Waltz That Carried Us Away And Then A Mosquito Came And Ate Up My Sweetheart. L’album è per i cultori della sua musica un capolavoro assoluto. Fahey continuerà la sua carriera per decenni, dando il battesimo ad altri chitarristi geniali, tipo Leo Kottke suo allievo prediletto ma uno dei primi a sconfessare il patrimonio del maestro. La sua figura venne riscoperta in toto, dopo decenni di oblio, negli anni ’90, con il gruppo di musica sperimentale di Jim O’Rourke, i Gastr Del Sol, facendolo conoscere ad una nuova generazione di musicisti riproponendo Dry Bones In The Valley nel 1996 e un anno dopo nel 1997 Fahey fa sue quelle idee e nel suo disco City Of Refuge, nel brano On The Death And Disembowelment Of The New Age si dà alla chitarra elettrica in una prova autodistruttiva di tutta la sua musica magica dei precedenti 40 anni. Morirà, povero e malato, nel 2001. Solo pochi anni più tardi, la rivista Rolling Stone lo colloca al 35° posto tra i più grandi chitarristi di ogni tempo. Se le classifiche hanno mai avuto un senso, quel posto secondo me non ha nessun valore: Fahey rimarrà uno dei più straordinari, magici e delicati chitarristi di tutti i tempi. Ascoltate la magia della sua musica, e vedete se è vero…

[esonetwork]

An Introduction To Film Noir | Earth Station One

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An Introduction To Film Noir | Earth Station One

In the back alleys and dark shadows of the golden city of Tinsel Town, lives a genre of desperation, seduction, temptation, and brutality that all fall under the label Film Noir. Mike, Mike, Roby Levy, and Nick Frasier serve up their favorite sexy, smoky, and sour cinematic concoctions from the classic era to current. Plus, Angela’s A Geek Girl’s Take, Ashley’s Box Office Buzz, Michelle’s Iconic Rock Moment, and Shout Outs!

We want to hear from you! Feedback is always welcome. Please write to us at feedback@earthstationone.com and subscribe and rate the show on Apple Podcast, Google Play, Spotify, Pandora, Amazon Music, wherever fine podcasts are found, and now we can be found on our own YouTube Channel.

Links The Earth Station One Website Earth Station One on Apple Podcasts The Earth Station One YouTube Channel Earth Station One on Spotify Past Episodes of The Earth Station One Podcast Angela’s A Geek Girl’s Take Ashley’s Box Office Buzz Michelle’s Iconic Rock Talk Show Film Noir Foundation TCM Noir Alley Modern Musicology Louder than War Monsterama

Promos Tifosi Optics Epsilon Three Cosmic Pizza The ESO Network Patreon Unique Crafts by Jenn ESO Network Tee-Public

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[kanjincho]

My favourite Taylor Swift songs above!

I first heard Ours when my husband (then bf) introduced me to the song to be used for a music lecture I did. I was so intrigued by the lyrics and the MV. I was never a Taylor Swift fan but now and then when I heard her hits I would be like "oh that's Swift? Oh wow!". Though I heard Ours I listened to it bit later so maybe Red Era? However, fate had it her international concert was in the news and I got curious so decided to listen to her albums slowly.

I had students who raved about her album Folklore but I started with Speak Now because it launched same time as her international concert ticket craze was coming. I admit I am a late Swiftie (and older too) fan but no regrets. I loved her songs from Speak Now TV and slowly explored all the albums from the earliest. I remember listening to it as I tried to go into the ticketmaster booking system (which failed). I like musicology and teach it and I was very curious about her songwriting characteristics (which we teach) so I started to listen to more songs, reading articles on literature profs/experts who analysed her lyrics (sometimes with the songs) and formed a deeper appreciation. I also keep a note of the songs I hear, and which song sounds similar to which. For example, her 1989 TV vault tracks had similarity with some of the 1989 earlier songs and I like using these parallels to show students that a composer at that point in time, or as DNA, these traits don't leave.

I see Taylor's relationship splashed on the media and it is fun and crazy to be caught up and give thoughts as a new fan (I realise Twitter is a crazy platform for this but it's also very amusing for me, I have not been a fan for any music for quite some time with work and other commitments) but I hope Taylor will be happy in whatever she does and always find inspiration to make music anytime. To me, it is always the music (and I must thank all the dudes she dated for inspiring her, good or bad).

Right now I'm exploring some of her more personal songs that seem to be about her life and family tree, like Epiphany, Marjorie, really fascinating. I think it is exciting to know a living poet/writer at our time. Imagine those who knew of Bronte/Wordsworth/Beethoven at their lifetime and championed their artistry! It is so exciting. She has also done so much to the industry and as a female musician, I am so in awe of someone who can channel her music. Doing music has been a dream but not realistic sadly where I am from, it was a choice for me to go into it and while I'm so happy where I am, I admire those who become artistes as it is so so tough out there.

Sadly, I could not qualify for her concert in 2024 maybe those fans who will watch the screen from the outside (not sure if there is a thing!) and I have never met her but I have a deep music admiration for her. Granted my friends have shared her music can sound less catchy than her lyrics (this I am still debating in my mind as I listen) but I like her thought process behind it (seen some of her reputation song vid of the process), the music process she works with Aaron, Jack (have not seen those with Max but he did good work on 1989). I like her fashion as well, and she's brought back some young girl fashion from 2012 actually back to 2023! Refreshing.

[stocklivemarket]

Haus Der Musik, which was opened in 2000 in Vienna, the capital of Austria, has the distinction of being the first sound and music museum in Austria. You will be able to witness the history of instruments from past to present, across an exhibition area of 54,000 square meters in the museum. The whole process is revealed, from the time when instruments entered human life in the earliest times to the era of today's music. At the museum, this event is held with a series of high-tech interactive multimedia presentations. This museum has a very important place in Austrian music history. The museum, which maintains its activity with all its splendor today, was honored once again by awarding the people who took part in its construction. The four names who contributed to the development of the Haus Der Musik museum, which means house of music, were awarded the Austrian Music Award in 2002. This award is dedicated to the innovative understanding of this quartet, which adds a very aesthetic added value to the art world. Haus Der Musik Haus der Musik is located in the Palace of Archduke Charles, where Otto Nicolai, the founder of the Vienna Philharmonic, lived 150 years ago. The honorary president of my museum is the Indian Zubin Mehta. According to Zubin Mehta, it was the cheerful and direct presentation of content that brought people together with different musical tastes and engaged them in dialogue, aroused interest and reduced prejudices against dealing with musicological issues that drove him to the honorary presidency. Haus Der Musik was the 19th most popular attraction in Vienna with 205,000 visitors in 2009. (adsbygoogle = window.adsbygoogle || []).push(); Vienna has always been a city where music is handled in a new way and people aren't afraid to find out-of-the-ordinary approaches. To match Haus Der Musik with Vienna's leading city in terms of music, attention is paid to ensure that visitors gain new experiences and receive an innovative education that is deliberately far from standard music education. Haus Der Musik is a center leading the change in music. In addition to historical elements, the interaction between natural and electronic sound production and analog and digital is reinterpreted aesthetically and artistically in the museum, which is the center of innovative and impressive works. The musicological content created in this way forms a bridge between tradition and innovation. Frequented by many tourists every year, Haus Der Musik continues to be a temple where music comes to life with everything. Visiting Information: Haus Der Musik is open to visitors every day between 10:00 and 22:00. It only closes at 18:00 on 24 December. Ticket prices are 13 Euros for adults, 9 Euros with a discount. Address: Seilerstatte 30, 1010 Vienna Directions: There are many alternatives for transportation by metro. You can get off at the U1 stops at Karlsplatz or Stephansplatz, the U2 at Karlsplatz, the U3 at Stephansplatz, or the U4 at Karlsplatz or Stadtpark stops. For the tram, you should get off at the Schwarzenbergplatz stop of the tram lines 2, 71 and D or at the Karlsplatz/Oper stop of the tram line 1,62. Nearby Places: Saint Anna Church, Kaerntnerstrasse, Malteserkirche

[zubair32se32sd34]

The Seven Different Types of Written Music

Music is a questionnaire of artwork that requires arranged and audible seems and silence. It is normally stated when it comes to message (which involves tune and harmony), rhythm (which includes pace and meter), and the caliber of sound (which involves timbre, connection, dynamics, and texture). Audio can also require complex generative forms in time through the construction of designs and combinations of natural stimuli, principally sound. Music can be utilized for imaginative or artistic, communicative, activity, or ceremonial purposes. This is of what constitutes music differs in accordance with culture and social Rob Wegner.

Greek philosophers and old theorists identified music as tones ordered horizontally as tunes, and vertically as harmonies. Music theory, through this realm, is studied with the pre-supposition that music is orderly and often pleasant to hear. But, in the 20th century, composers challenged the notion that audio must be nice by creating audio that explored harder, darker timbres. The living of some modern-day types such as grindcore and sound audio, which enjoy an extensive subterranean subsequent, show that even the crudest tones can be viewed as audio if the crowd is really inclined.

20th century musician John Crate disagreed with the idea that audio should include nice, real tunes, and he pushed the concept that it may communicate anything. Instead, he argued that any sounds we can hear can be audio, saying, for instance, "There's number noise, only noise,"[3]. Based on musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "The edge between music and noise is always culturally defined--which suggests that, even inside a single culture, this border does not at all times move across the exact same position; in a nutshell, there's seldom a consensus…. By all accounts there is no single and intercultural general idea defining what music might be."

The history of audio predates the written term and is linked with the growth of every distinctive human culture. Though the first files of musical phrase are found in the Sama Veda of India and in 4,000 year old cuneiform from R, most of our prepared documents and reports deal with the real history of audio in American civilization. This includes musical intervals such as for instance old, renaissance, baroque, traditional, intimate, and 20th century era music. The annals of music in other cultures has been reported to varying degrees, and the data of "earth music" (or the subject of "ethnomusicology") has are more and more wanted following in academic circles. Including the recorded conventional traditions of Asian places beyond your impact of western Europe, in addition to the folk or indigenous audio of several other cultures. (The term earth music has been applied to a wide variety of music built outside of Europe and American effect, although its initial software, in the situation of the Earth Music Plan at Wesleyan University, was as a expression including all probable audio types, including American traditions. In academic groups, the first term for the analysis of earth music, "comparative musicology", was replaced in the midst of the twentieth century by "ethnomusicology", which will be however considered an poor coinage by some.)

Popular varieties of music diverse generally from tradition to tradition, and from time to period. Different countries emphasised different instruments, or methods, or employs for music. Music has been applied not just for amusement, for ceremonies, and for useful & creative conversation, but additionally thoroughly for propaganda.

As world countries came into greater contact, their indigenous musical models have usually merged in to new styles. As an example, the United States bluegrass style includes things from Anglo-Irish, Scottish, Irish, German and some African-American instrumental and vocal traditions, which could fuse in the US' multi-ethnic "reduction pot" society.

There's a bunch of music classifications, several of which are trapped in the controversy around the meaning of music. Among the largest of the could be the division between conventional music (or "art" music), and common music (or professional audio - including rock and throw, place music, and pop music). Some types don't match neatly in to one of these "major two" classifications, (such as folk audio, world music, or jazz music).

Genres of music are decided the maximum amount of by convention and presentation as by the particular music. While most classical music is acoustic and designed to be executed by people or organizations, several operates described as "classical" contain samples or recording, or are mechanical. Some operates, like Gershwin's Rhapsody in Orange, are said by equally jazz and established music. Many recent audio festivals enjoy a specific audio genre.

[bestplacevisit]

Haus Der Musik, which was opened in 2000 in Vienna, the capital of Austria, has the distinction of being the first sound and music museum in Austria. You will be able to witness the history of instruments from past to present, across an exhibition area of 54,000 square meters in the museum. The whole process is revealed, from the time when instruments entered human life in the earliest times to the era of today's music. At the museum, this event is held with a series of high-tech interactive multimedia presentations. This museum has a very important place in Austrian music history. The museum, which maintains its activity with all its splendor today, was honored once again by awarding the people who took part in its construction. The four names who contributed to the development of the Haus Der Musik museum, which means house of music, were awarded the Austrian Music Award in 2002. This award is dedicated to the innovative understanding of this quartet, which adds a very aesthetic added value to the art world. Haus der Musik is located in the Palace of Archduke Charles, where Otto Nicolai, the founder of the Vienna Philharmonic, lived 150 years ago. The honorary president of my museum is the Indian Zubin Mehta. According to Zubin Mehta, it was the cheerful and direct presentation of content that brought people together with different musical tastes and engaged them in dialogue, aroused interest and reduced prejudices against dealing with musicological issues that drove him to the honorary presidency. Haus Der Musik was the 19th most popular attraction in Vienna with 205,000 visitors in 2009. Vienna has always been a city where music is handled in a new way and people aren't afraid to find out-of-the-ordinary approaches. To match Haus Der Musik with Vienna's leading city in terms of music, attention is paid to ensure that visitors gain new experiences and receive an innovative education that is deliberately far from standard music education. Haus Der Musik is a center leading the change in music. In addition to historical elements, the interaction between natural and electronic sound production and analog and digital is reinterpreted aesthetically and artistically in the museum, which is the center of innovative and impressive works. The musicological content created in this way forms a bridge between tradition and innovation. Frequented by many tourists every year, Haus Der Musik continues to be a temple where music comes to life with everything. Visiting Information: Haus Der Musik is open to visitors every day between 10:00 and 22:00. It only closes at 18:00 on 24 December. Ticket prices are 13 Euros for adults, 9 Euros with a discount. Address: Seilerstatte 30, 1010 Vienna Directions: There are many alternatives for transportation by metro. You can get off at the U1 stops at Karlsplatz or Stephansplatz, the U2 at Karlsplatz, the U3 at Stephansplatz, or the U4 at Karlsplatz or Stadtpark stops. For the tram, you should get off at the Schwarzenbergplatz stop of the tram lines 2, 71 and D or at the Karlsplatz/Oper stop of the tram line 1,62. Nearby Places: Saint Anna Church, Kaerntnerstrasse, Malteserkirche

[daniela--anna]

Guarda "VIVALDI: Ciaccona in C Major, RV 114 – APOLLO'S FIRE (Live in Cleveland)" su YouTube

Antonio Lucio Vivaldi (Venezia, 4 marzo 1678 – Vienna, 28 luglio 1741[1]) è stato un compositore e violinista italiano considerato tra i massimi esponenti del barocco musicale. Sacerdote, pur non potendo celebrare la messa per motivi di salute, era detto "il Prete rosso" per il colore dei capelli.

Fu uno dei violinisti più virtuosi del suo tempo e uno dei più grandi compositori di musica barocca. Considerato il più importante, influente e originale musicista italiano della sua epoca, Vivaldi contribuì significativamente allo sviluppo del concerto, soprattutto solistico e della tecnica del violino e dell'orchestrazione. Non trascurò inoltre l'opera in musica e la sua opera compositiva vastissima comprende inoltre numerosi concerti, sonate e brani di musica sacra.

Le sue opere influenzarono numerosi compositori del suo tempo tra cui il genio massimo del barocco Johann Sebastian Bach, ma anche Pisendel, Heinichen, Zelenka, Boismortier, Corrette, De Fesch, Quantz.

Le sue composizioni più note sono i quattro concerti per violino conosciuti come "Le quattro stagioni", celebre esempio di musica a soggetto.

Come per molti compositori barocchi, dopo la sua morte il suo nome e la sua musica caddero nell'oblio. Solo grazie alla ricerca di alcuni musicologi del XX secolo, come Arnold Schering, Marc Pincherle, Alberto Gentili e Alfredo Casella, Gian Francesco Malipiero, il suo nome e le sue opere tornarono celebri, diventando uno dei compositori più noti ed eseguiti.

🎥NEL VIDEO

Vivaldi: Ciaccona in C Major (Do Maggiore) RV 114

CIACCONA

In musica, il termine ciaccona designa un tipo di danza caratteristica, di origine cinquecentesca spagnola o forse latinoamericana,.nonché una forma musicale derivata dalla danza stessa.

STORIA E TECNICA

In tempo ternario su un basso sincopato ostinato, in origine danza di carattere vivace e scherzoso, acquisì tratti più austeri alla corte francese, entrando agli inizi del XVII secolo nel balletto, nell'opera e nelle suite strumentali.

Il termine fu successivamente applicato a qualsiasi opera in tempo moderato di 3/4, che consistesse in alcune variazioni su una linea di basso.